What do you do?

elizabeth_Luna

What can I do better next time?

So this weekend I was faced with a challenge, the wedding was held outside lucky me it got dark after the ceremony.

But when it came to the toast the 1st dance etc. It looked like I was shooting inside a club. The DJ had I believe every light imaginable available shooting right at the people who were talking including the bride and groom not to mention he had steam machine shooting out constantly.

So I asked politely to the DJ if he could let a solid color maybe white if he could just for them important parts. He replied with a NO...

My mistake was I didn't tell the couple because it appeared they knew him and I didn't want to offend them. In the meanwhile all the reception pictures came out very colorful needless to say.

Only Flash I had was my 580exII on a garyfong lightsphere.

I have been poundering on this. Even if I had a slave flash around that area would that overight all them lights?

Blurmore

I'll draw on my Mitzvah experience here to answer your question about smoke, I have yet to see one used at a wedding. For one a smoke machine and a fog machine are different beasts, and smoke is worse than fog for pics. Fog tends to stay fairly low, and stay together, smoke...just goes everywhere and fubars everything.

Incase of either if you are not getting the shots you want, abandon your lightsphere, shoot direct flash. If you can set up a slave as a backlight or crossing flash, do it to illuminate your background. Try to shoot on a chair or ladder, get above it. Ride your FEC (flash exposure compensation) and shoot raw and be prepared to add a LOT of contrast.

For DJ light it really depends on the lights, but a general rule is to shoot a non flash exposure with the lights running. Start at ISO 800 f4 1/40th of a sec. If the lights are too dim, drop the aperture or time, or bump the iso, you are going for SLIGHT underexposure of the lights. Then add your flash, usually dialed down -1/3 to -2/3 if you can get that flash handheld off camera, that is best. Then have fun with the lights, use them as much as you can. Most of my reception dance stuff is shot at 1/10-1/30th of a sec with the flash in rear sync mode, this allows you to add camera motion.



1/8 f4.5 ISO 800





The key is...to balance the special light with your light, with an emphasis on your light, but not so much as to kill the special light.

tenoverthenose

elizabeth_Luna wrote:

What can I do better next time?
....
I have been poundering on this. Even if I had a slave flash around that area would that overight all them lights?

Under normal conditions, using a flash you can "remove" the ambient light, but it is more difficult with a flash that is on your camera (distance will be a big issue). Chances are, if the B&G had that lighting setup for the wedding, they must like the look and it would be acceptable to photograph as is. To me, this is the chance to be creative and play with different lights.

jeffreaux2

I capture the event.....

If its lit with blue and purple and orange light...well.....you wouldn't want to steal away that atmosphere would you? Sure, you need enough light for a proper exposure...which often includes flash....but no more than is neccessary.

Rarely is the lighting at a wedding ideal for photography....and more often than not the reception lighting is even worse. Unfortunately they dont hire photographers to design the lighting in chapels, churches, or reception halls. This is why wedding photographers are most often geared up for low light shooting.

elizabeth_Luna

jeffreaux2 wrote:

I capture the event.....

If its lit with blue and purple and orange light...well.....you wouldn't want to steal away that atmosphere would you? Sure, you need enough light for a proper exposure...which often includes flash....but no more than is neccessary.

Rarely is the lighting at a wedding ideal for photography....and more often than not the reception lighting is even worse. Unfortunately they dont hire photographers to design the lighting in chapels, churches, or reception halls. This is why wedding photographers are most often geared up for low light shooting.

You're right - My pictures came out fine as far as you can see who I was taking the pictures off, maybe I was giving myself a hard time and you're right about the atmosphere thank you all for your Feedback I will shut my mouth up now lol

elizabeth_Luna

Blurmore wrote:

I'll draw on my Mitzvah experience here to answer your question about smoke, I have yet to see one used at a wedding. For one a smoke machine and a fog machine are different beasts, and smoke is worse than fog for pics. Fog tends to stay fairly low, and stay together, smoke...just goes everywhere and fubars everything.

Incase of either if you are not getting the shots you want, abandon your lightsphere, shoot direct flash. If you can set up a slave as a backlight or crossing flash, do it to illuminate your background. Try to shoot on a chair or ladder, get above it. Ride your FEC (flash exposure compensation) and shoot raw and be prepared to add a LOT of contrast.

For DJ light it really depends on the lights, but a general rule is to shoot a non flash exposure with the lights running. Start at ISO 800 f4 1/40th of a sec. If the lights are too dim, drop the aperture or time, or bump the iso, you are going for SLIGHT underexposure of the lights. Then add your flash, usually dialed down -1/3 to -2/3 if you can get that flash handheld off camera, that is best. Then have fun with the lights, use them as much as you can. Most of my reception dance stuff is shot at 1/10-1/30th of a sec with the flash in rear sync mode, this allows you to add camera motion.



1/8 f4.5 ISO 800





The key is...to balance the special light with your light, with an emphasis on your light, but not so much as to kill the special light.

Thank you thank you thank you!

ctcks

Yeah. The B&G wanted that atmoshphere and you as the professional photojournalist wedding photog captured it as is.

Scott_Quier

When faced with situations like this (and other "problem" situations), there are two mantras I like to use:

1. "Really, it's not all about me!"
2. "It is what it is."

Ed911

Scott_Quier wrote:

When faced with situations like this (and other "problem" situations), there are two mantras I like to use:

1. "Really, it's not all about me!"
2. "It is what it is."

Don't we all lose sight of that...getting caught up in our craft. Scott, you couldn't have said it better. Thanks for sharing that tidbit of info.

I find myself jotting that down, actually...

Scott_Quier

Ed911 wrote:

Scott_Quier wrote:

When faced with situations like this (and other "problem" situations), there are two mantras I like to use:

1. "Really, it's not all about me!"
2. "It is what it is."

Don't we all lose sight of that...getting caught up in our craft. Scott, you couldn't have said it better. Thanks for sharing that tidbit of info.

I find myself jotting that down, actually...

Glad to have helped!

Um ... I find it so axiomatic that I have to wonder how other's work a wedding. For me, I would love to be a fly on the wall and not have anyone notice me. One of the best complements I've ever received was something along the lines of

"Wow - you got so many wonderful photos. How did you do it? I never even really saw you!"

elizabeth_Luna

Scott_Quier wrote:

When faced with situations like this (and other "problem" situations), there are two mantras I like to use:

1. "Really, it's not all about me!"
2. "It is what it is."

Ha! I was saying this same quote the other day about the photos